High Sierra Page #2

Synopsis: Roy 'Mad Dog' Earle is broken out of prison by an old associate who wants him to help with an upcoming robbery. When the robbery goes wrong and a man is shot and killed Earle is forced to go on the run, and with the police and an angry press hot on his tail he eventually takes refuge among the peaks of the Sierra Nevadas, where a tense siege ensues. But will the Police make him regret the attachments he formed with two women during the brief planning of the robbery.
Director(s): Raoul Walsh
Production: Warner Home Video
  3 wins.
 
IMDB:
7.6
Rotten Tomatoes:
94%
PASSED
Year:
1941
100 min
570 Views


Down! Down!

Up! Up!

Jump!

Yes, sir, mighty fine animal, he is.

Proud of your dog, ain't you?

No, sir, he ain't my dog.

He took a liking to me and follows me.

- Sort of gets me worried too.

- Why?

Pard used to belong to a woodcutter,

who lived up here all year around.

Last winter, a snow slide come down

on that man's house and killed him dead.

Didn't kill Pard, though. A man saw

Pard wandering around in the snow...

...took him in, bam! If that man don't

up and die with the pneumonia.

Great big, strapping man too.

So Pard got to hanging

around the lodges.

And doggone if Miss Tucker

didn't come up here with the:

And I hear yesterday

she ain't gonna live.

So I'm just telling you about Pard,

in case you want him for your own dog.

Can I come in?

Yeah.

He breaking your heart

with the mutt's story?

- It's the Lord's truth.

- Look at him.

He's a born panhandler.

Everyone stuffs him, so now he won't

eat anything but a New York cut.

I guess I'll get back to the store.

Pard will stay with you, won't you, Pard?

Hey. Sit down. Have a cigarette.

Thanks.

- Where are your boyfriends?

- Out fishing.

That's about all they do.

They never catch any,

but they keep fishing.

Yeah, he certainly is spoiled.

Look at him. He knows we're

talking about him.

I feel pretty good this morning.

I felt rotten last night.

Nothing like a good night's sleep.

You ought to get out in the sun.

Do you good.

Where I been, they didn't

let me out in the sun.

Afraid I might spoil

my girlish complexion.

Must be terrible to be in prison.

Some are worse than others.

You get a mean guard on you...

...unless you got what it takes,

might as well climb tier 2 and jump.

- Some of them did.

- I don't get you.

Top of the cell block. It's a 40-foot drop,

and you land on concrete.

I saw a guy take a dive once.

He made quite a splash.

Yeah. That must be awful.

He just didn't have what it takes.

I was doing it too,

but I got a break.

How was it?

I mean, knowing you're in for life.

- I should think you go crazy.

- Yeah. Yeah, lots of them do.

I was always thinking

about a crash-out.

I tried it at the prison farm,

where they sent me...

...but the fix blew up and a screw put

the blast on me.

The worst of it was, they

sent me back behind those big walls.

We were just getting ready for another

crash-out when my pardon came.

Yeah, I get it.

You always hope you can get out.

That sort of keeps you going.

Yeah.

Yeah, sure, that's it.

You got it.

Well, I'll get you some more coffee.

Well, thanks for the chow.

You see that fella over there?

He better watch his steps...

...because that dog's got the hex

on him for sure.

Gonna put the evil eye

on him?

Yes, sir, the evil eye.

That little old dog's got the evilest eye.

His left eye just shines in the dark,

just like a cat's eye.

Algernon, if it's in the dark,

how do you know which eye is which?

Come on, Mendoza.

We playing cards or taking a nap?

I'm sorry.

My mind was not on the game.

That's for me. Thanks, Louis.

Dumb luck. Just plain dumb luck.

If you wouldn't kick so much,

you'd do better.

- It's all in the cards.

- That's right.

Oh, Roy, this here's Louis Mendoza.

Delighted, Mr. Earle.

Come on, Mendoza,

let's finish out this hand.

That's a baby!

There's that dumb luck again.

I can't beat it.

What's it look like at the hotel?

How soon do we go?

Oh, it won't be long now.

The visiting season is starting up north...

...and all the big shots have

been making reservations.

This is the layout.

I don't know.

Babe and I kind of figured

our best getaway was over the pass.

Nobody will expect us to cross

the Sierras to go to L.A.

Suppose it should blow up a storm?

If the pass got blocked up, then what?

Yeah, that's right.

Oh, by the way, I dropped in

to see Big Mac yesterday.

He wants to see you.

All right, I'll look

at the hotel tomorrow.

Drive in and see him.

Mendoza brought us a present...

...and, Roy, you're the engineer.

Big Mac gave me the machine gun.

Know how to work it?

- Red doesn't, neither does Babe.

- That's a good one.

- What's so funny?

- Does he know how to work it?

Yeah.

Say, that gun reminds me

of one time nine or 10 years ago.

We was getting ready

to do a job back in Iowa...

...when one of the guys

got the shakes.

Pretty soon, we found out that

this guy had talked too much.

And a bunch of coppers

are waiting for us at the bank.

But we don't say nothing.

Lefty Jackson goes out and gets his gun.

He comes back and sits down

and holds it across his knee.

The guy with the shakes is sitting

right across the room.

Pretty soon, Lefty just touched

the trigger a little...

...and the gun went... like that.

The rat fell out of his chair dead,

and we drove off and left him there.

Yeah, the gun just went:

I ought to be getting back.

I have to go on duty at 8:30.

What's your stunt?

You stick through the whole job,

don't you?

Sure, I stand behind the desk

and act scared.

When you fellas get through,

I phone the police.

We don't want no slip-ups, Mendoza.

Boys and girls, I got the idea that our

boyfriend here is no cream puff.

How'd you like the little bedtime

story about the gun that went...?

You get the idea?

You suppose he meant it that way?

Try talking and find out.

- I'll take a pack of these.

- Twenty-five cents, please.

Yes, sir.

- Thing at 316?

- I... 316.

They've got no money

or insurance. It's murder.

Tough luck, Pfiffer.

I should take it out of his hide.

- He wasn't driving. The girl was.

- I was! I was!

- What's an outfit like that doing here?

- It's a state highway.

The signal was on.

He had his hand out.

Wait a minute.

Will you let me get a word in?

I was driving along, he... Why, Roy.

- Oh, friends of yours?

- Yeah. Why?

I know I have no chance to collect,

but I'm curious.

I pull out and wham.

Look at my fender.

But you didn't make a signal.

You better be careful.

You might have to pay off.

Oh, a wise guy in on this?

All right, have it your own way.

I'll charge it off to experience.

What's the matter?

I got clipped, but I'm satisfied

if this guy is.

Well, I guess if Mr. Pfiffer

is satisfied, I am.

Come on, let's break this up.

Back on the sidewalk.

Hey, fella. These people

ain't got any dough.

That car's all they got.

- Stop it. You're breaking my heart.

- Fifty bucks ain't much to you.

- Sorry, but not a quarter.

- That's right. Saw the whole thing.

That girl was driving the car.

Look, she's a cripple too.

No, it was really Velma's fault.

She was gawking around, looking at

things and smacked into that fella's car.

I was surprised when he give

you that hundred dollars to give me.

I wouldn't worry about him.

He's probably got plenty.

This is the second time you saved us.

When Velma smashed into that car,

I had 13 cents in my pocket...

...and a $5 bill in my shoe.

The women didn't know

and don't tell them.

Pa, you're all right.

You said you come from Chicago,

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John Huston

John Marcellus Huston (; August 5, 1906 – August 28, 1987) was an Irish-American film director, screenwriter and actor. Huston was a citizen of the United States by birth but renounced U.S. citizenship to become an Irish citizen and resident. He returned to reside in the United States where he died. He wrote the screenplays for most of the 37 feature films he directed, many of which are today considered classics: The Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), The Asphalt Jungle (1950), The African Queen (1951), The Misfits (1961), Fat City (1972) and The Man Who Would Be King (1975). During his 46-year career, Huston received 15 Oscar nominations, won twice, and directed both his father, Walter Huston, and daughter, Anjelica Huston, to Oscar wins in different films. Huston was known to direct with the vision of an artist, having studied and worked as a fine art painter in Paris in his early years. He continued to explore the visual aspects of his films throughout his career, sketching each scene on paper beforehand, then carefully framing his characters during the shooting. While most directors rely on post-production editing to shape their final work, Huston instead created his films while they were being shot, making them both more economical and cerebral, with little editing needed. Most of Huston's films were adaptations of important novels, often depicting a "heroic quest," as in Moby Dick, or The Red Badge of Courage. In many films, different groups of people, while struggling toward a common goal, would become doomed, forming "destructive alliances," giving the films a dramatic and visual tension. Many of his films involved themes such as religion, meaning, truth, freedom, psychology, colonialism and war. Huston has been referred to as "a titan", "a rebel", and a "renaissance man" in the Hollywood film industry. Author Ian Freer describes him as "cinema's Ernest Hemingway"—a filmmaker who was "never afraid to tackle tough issues head on." more…

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Submitted on August 05, 2018

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